Irish Repertory Theatre

Irish Drama.
New York Style.

Quietly

Quietly

“It is difficult to imagine a piece of theater more perfectly suited to our jittery, antagonistic American moment than Quietly.” – New York Times

Irish Repertory Theatre
in association with The Public Theater presents
The Abbey Theatre’s production

by Owen McCafferty
directed by Jimmy Fay

Extended through September 25th!

Buy Tickets Now!

Belfast is a place where things need to be said. Following the 1998 Good Friday Agreement, the guns were silenced but the chasm between the Republican and Unionist sides remains wide and bitter. Tonight, in a small back-street bar, while Northern Ireland plays Poland on the TV, Jimmy and Ian will meet for the first time. They share a violent past and this is a conversation that’s been brewing for more than 20 years…

Quietly is a story about what happened in a particular bar in 1974, but also what happened in Northern Ireland from the late 1960s to the late 90s. It is a “powerful, “gripping” play about violence and forgiveness and the ‘spiritual lesson of time and healing.’ After enjoying huge international success, the Abbey Theatre brings this important new work to Irish Rep.

ORIGIN'S_1st Irish_2016

Part of the 2016 1st Irish Festival

Irish Rep’s engagement of Quietly is supported by Culture Ireland as part of the Ireland 2016 Centenary Programme, McCann FitzGerald and the Abbey Theatre Foundation.

★★★★ “ROCK SOLID… GRABS YOU BY THE THROAT AND DOESN’T LET GO.” Time Out NY

★★★★ “TRULY REMARKABLE… LIKE WATCHING AN EGGSHELL TRY TO CONTAIN A LANDMINE” Time Out Dublin

“SUPERB…BOTH HARROWING AND HEARTENING.” – The New Yorker

TDF Stages: Same Script. Same Cast. Different Play.

By MARK BLANKENSHIP Thu Aug 4, 2016

“I’m beginning to enjoy the fact that he’s letting us know that he’s not going to be kicked around.”

The Irish play Quietly finds a different voice Off Broadway

Since it moved across the ocean, Quietly  has gotten less quiet. “There’s only a shadow of the silences left,” says co-star Declan Conlon. “The dynamic has changed.”

That may sound surprising. After all, this production of Owen McCafferty’s play, about a tense reunion between former enemies during the Troubles in Northern Ireland, is essentially the one that premiered at Ireland’s Abbey Theatre in 2012. The script is the same, and so are the director and the design team. Plus, all three cast members have returned, including Conlon as a Protestant who’s haunted by a moment of teenage violence and Patrick O’Kane as the Catholic whose life was shattered by that act.

After the Abbey premiere, the troupe also remounted the show several times in the UK, so by now, you’d think the moments of silence would be permanently embedded.

But plays can be radically altered by the rooms where they’re performed. And in its current run at the Irish Repertory Theatre, Quietly has made adjustments for a new home.

For instance, Irish Rep’s freshly renovated theatre has a balcony, which puts the people upstairs in the back considerably further from the action than those downstairs in the front. In that configuration, the meaningful pauses and soft line deliveries that worked in other, tinier venues just aren’t sustainable.

“If you’re sat in the back, it’s very difficult to hear it the way we had been playing it,” says O’Kane. “We’ve had to punch it out more. In previous versions, it was like you were coming to us, like you were eavesdropping on something that was happening. Whereas it feels to us in this particular space that we’re sending it out to you.”

These vocal changes invite the actors to reevaluate their performances. “In smaller spaces, I came in with more of the guilt and shame, the crushed nature,” says Conlon. “That energy where you’re turning in on yourself led to my vocal quality being pretty quiet, so by having to push it out, it changed the dynamic of how [my character] enters. And now I’m beginning to enjoy the fact that he’s coming in and letting us know that he’s not going to be kicked around. For me it’s interesting because I didn’t explore that before.”

To be sure, Conlon and O’Kane both blaze through this production, which is co-presented by the Irish Rep and the Public Theater. They rehash their grievances and political rage with the conviction of men who are masters at justifying their anger, and this makes it especially moving when they finally, just for a moment, learn to hear each other.

And that is something that never changes. No matter where it’s staged, the play will always be about adversaries who briefly recognize each other as fellow citizens of the same healing country. “It’s still very much a meditation on both the need for and the nature of reconciliation,” says O’Kane. “It holds that up to scrutiny: What is reconciliation? Is it everybody becoming friends and giving each other hugs? Clearly not. Whatever’s different now, those core things remain.”

Follow Mark Blankenship at @IAmBlankenship. Follow TDF at @TDFNYC.
Original posted by TDF on TDF.org

In conversation with Declan Conlon

Actor Declan Conlon, who is currently playing the character of Ian in Quietly, takes time out to discuss his acting career to date, his long and established career with the the Abbey Theatre, and the different experiences he has had playing characters our two stages.

via the Abbey Theatre blog for the original presentation of Quietly

Making a space for the stage

Alyson Cummins, Set Designer, reveals the process of bringing a set design concept to stage in, Quietly.

QuietlyBlogStoryboardThe opening lines of the play tell us that Quietly is set in Belfast in 2009, on the evening that Northern Ireland play Poland in a World Cup qualifier.

At the beginning of the design process, Jimmy Fay (Director) and I travelled to meet Owen McCafferty (Writer) in Belfast, to have a look at some different pubs which had been bombed during the Troubles (although the one we deal with in the play is fictional). Owen spoke to us about some things such as the layout, which might have made a pub a particular target. It was a great opportunity to look at the detail which characterizes a contemporary Belfast pub.

Following that trip and other research, I went on to study the script in detail, working through storyboards (pictured left) and models to create a space for the action. During this part of the process it was important to take account of all of the practicalities of the play, as well as the overall conceptual idea I was trying to achieve. Things such entrances and exits, furniture and in this particular piece, the way we were going to deal with Robert’s text messages to his wife, girlfriend and someone he owes money to, were important considerations.

QuietlyBlogModelbox1Working together with Jimmy Fay, it became important to create a space which allowed the story to exist and unfold in its own time. We wanted create a space which was naturalistic but also had a feeling of subtext; that it represented a space with history and ghosts. So to that end I wanted to achieve a space with different reliefs, alcoves and corridors with opportunity for depth and shadow.

Producing a model box (pictured below) was the next step. While I used it as a design tool during my process, once it was finalised it became a tool for explaining the design to the cast and crew.

Approximately a week before the previews began, the set was built. After the actual walls go up there is still a lot of work to do on finishes and getting the amount and type of detail right.

And then we open; I do hope you enjoy!
Alyson

via the Abbey Theatre blog from the original staging of Quietly

My theatrical confession of faith

Robert Zawadzki reveals what attracted him to a theatrical career, and how being involved in an Abbey Theatre production was the perfect match for him.

Both theatre and film belong to fields of art, which in a very unique way can engage with the public mind. Audiences are invited to explore stories and themes through professional performances by specially selected actors while also, and what I believe is the most important, receive specific messages intended by the playwright or author of the script.

And it is he or she, the author, who carries the main responsibility for the subject of the story. How this story is brought to stage or screen depends on the skills and sensibility of the director, actors and all other people involved in the production. Of course it is always good when they all are striving to take the story in the same direction.

I am very fortunate and lucky to have worked in venues and with companies whose theatrical creations are socially engaged and based on well-written plays. One such key experience was my role in a production by one of the most important contemporary Polish playwrights – Tadeusz Slobodzianek. I have also been lucky enough to work in Modjeska Theatre in Legnica, a venue closely engaged with its local community which makes this engagement a priority in its programming. I have also been involved in very similar work with young Polish directors – Pawel Passini, Piotr Ratajczak and Lukasz Witt-Michalowski – who all comment on real world issues in a very clear and uncompromising way.

This style of theatre both affects and interests me the most. It has helped me to develop into the actor that I am. It is the kind of theatre that comments on difficult, controversial, uncomfortable and often taboo issues; but always important issues, relevant to social and political life. It helps us to understand the mechanisms behind human behavior, the choices we make, and to draw conclusions that will help us to ensure we don’t make the same mistakes in future.

I believe in theatre where the support of my peers is a cornerstone; where being an artist just happens sometimes, but on a daily basis we are solid craftsmen who put our hearts into our craft.

Therefore, I am glad to have the honour of working in Ireland’s national theatre; a theatre that engages in discussion with Irish society. The story presented in Quietly is an important and socially engaged one. The play is about the history of Ireland; a small but extremely experienced country. It is a country very similar to my beloved homeland, Poland, which also has its own demons and history that should be looked at straight in the eye. Quietly is not a story from the past nor is it a closed chapter. It is like a clock that steadily counts down time without letting us forget. As the time passes it writes more and more new chapters and includes new topics.

Theatre should be watchful for those topics, commenting on the facts, and acting as a mirror of the actions – including the embarrassing and uncomfortable ones. It should also provoke discussion, because only in this way can these stories be understood, forgiven and reconciled.

Regardless of where we live in the world, certain truths are universal. It is the wisdom of a nation to accept these truths and use them to move forward for a positive future.

Polish Translation

Moje teatralne wyznanie wiary

Zarówno teatr jak i film należą do tych dziedzin sztuki, które w sposób najbardziej wszechstronny mają szansę na dotarcie do świadomości społecznej. Za ich pośrednictwem widz może nie tylko na własne oczy zobaczyć historię i usłyszeć ją w profesjonalnym wykonaniu odpowiednio dobranych do tego ludzi ale także, co jest być może najważniejsze odebrać jej przekaz merytoryczny zapisany przez autora dramatu lub scenariusza filmowego. I to właśnie na nim spoczywa największa odpowiedzialność za to jaki temat porusza a w efekcie jaka historia zostanie widzowi opowiedziana. To, w jaki spsób zostanie to przedstawione zależy od umiejętności reżysera, aktorów i wszystkich innych osób zaangażowanych w produkcję. Zawsze jest jednak dobrze jeśli uderzają w te same tony.

Mam ogromne szczęście pracować w miejscach i z ludźmi, których twórczość teatralna jest bardzo zaangażowana społecznie oraz bazuje na świetnie napisanych tekstach dramatycznych. Tak było w przypadku współpracy z jednym z najważniejszych współczesnych polskich dramatopisarzy Tadeuszem Słobodziankiem, z Teatrem im.Heleny Modrzejewskiej w Legnicy, który jest miejscem bardzo zaangażowanym lokalnie, uwzględniającym w swym repertuarze mały świat, który go otacza mający swoje wielkie problemy. Podobny przebieg miała moja współpraca z młodymi polskimi reżyserami: Pawłem Passinim, Piotrem Ratajczakiem czy Łukaszem Witt-Michałowskim, którzy w bardzo wyrazisty i bezkompromisowy sposób komentują współczesną rzeczywistość. Z takiego teatru wyrosłem jako aktor i taki teatr dotyka i interesuje mnie najbardziej. Teatr podejmujący tematy trudne, niewygodne, drażliwe często tabu ale zawsze ważne, żywe z życia wzięte i istotne dla przeciętnego człowieka. Teatr rozprawiający się z najczarniejszymi demonami życia ludzkiego, naszej społecznej egzystencji po to aby je lepiej zrozumieć. Aby poprzez wyjaśnianie mechanizmów kierujących ludzkimi zachowaniami i wyborami wyciągać wnioski, które pozwolą nam w przyszłości unikać popełnaiania tych samych błędów. Wierzę w teatr podparty rzemiosłem i warsztatem ludzi go tworzących, teatr w którym artystą się tylko bywa, czasami. Na co dzień natomiast jest się solidnym rzemieślnikiem który wkładając całe swoje serce, zdobyte doświadczenie i ciężką pracę w to co robi daje widzowi możliwość do refleksjii nad sobą samym.

Dlatego też, cieszę się tak bardzo z tego, że podobny teatr mam zaszczyt robić tutaj w Irlandii, że temat, który podejmuje Owen McCafferty w “Quietly” jest żywy, ważny i społecznie zaangażowany. Jest rozmową o historii tego niewielkiego ale jakże doświadczonego przez los kraju. Kraju bardzo podobnego do mojej kochanej Ojczyzny, która również ma swoje własne demony i historię, której należy spojrzeć prosto w oczy. Jest to historia, która nie jest przeszłością i zamkniętym rozdziałem ale jest jak zegar który w jednostajnym rytmie odlicza czas nie pozwalając nam zapomnieć o jego upływie dzięki ciągłemu tykaniu wskazówek. Historia ta pisze coraz to nowe rozdziały, uwzględnia nowe wątki a sztuka ma obowiązek być czujna, przyglądać się zjawiskom, komentować fakty, rozliczać czyny – również, a może przede wszystkim te wstydliwe i niewygodne- a także prowokować do dyskusji bo tylko wtedy można liczyć na zrozumienie, przebaczenie i pojednanie. I tak jest wszędzie. Niezależnie od szerokości geograficznej pod jaką żyjemy pewne prawdy są uniwersalne a mądrość narodu polega na tym aby zechcieć to przyjąć do wiadomości i zrobić z tego dobry użytek.

Robert Zawadzki

via the Abbey Theatre blog from the original staging of Quietly

Broadway World Interview: Declan Conlon

Originally posted on BroadwayWorld.com

Tell us about your character in the show, Ian.

Ian is a 52 year-old man who arrives into a bar, having pre-arranged to meet another 52 year-old man, Jimmy. When Ian was 16 in 1974, he threw a bomb into a bar and killed six people, including Jimmy’s father. So he’s come, having never met him before, to in some way I suppose, find some sort of understanding. He’s full of guilt, and shame, and in some way, he’s looking for forgiveness. I would imagine he’s going to try and see a relative of the six people if he can, but he chooses Jimmy first because he understands that this man is the same age as him and he hopes that because he is 52 and he was 16 in 1974 himself, he hopes that Jimmy will understand the fact that he was a kid. It doesn’t go all according to plan, though.

You previously starred in the play when it was in Ireland, correct?

Yes, we began in 2012 at the Abbey Theatre in Dublin. We did it there first, and then in 2014 we brought it to back to the Abbey in Dublin, and then we did a tour of the border counties, the counties that sort of cross the divide between Northern Ireland and the Republic of Ireland at the theaters along the border. Then we did it London in 2014, and now we’re finally coming to New York in 2016.

Do you think, now that it is a New York, the audience is going to respond differently?

Yes, they do everywhere we go. I think it’s going to be to be interesting because we’ve only really done a few previews. We’re still finding our feet with the space. Every time we go to a different theatre we have to, sort of, adjust the plane, somewhat, and of course we’ll play to different theaters. And, I assume the Irish Repertory Theatre will have an Irish-American audience, so it’s going to be interesting to see what they think of it, now. It’s a very universal theme, I think, even though it’s very specific to these individuals, it’s specific to Belfast. It’s quite universal in it’s themes of reconciliation. I think it’s called Quietly because it’s about two individuals who take it upon themselves what the government has spectacularly failed to do. We’re also all very excited to be in New York, and we’re all very excited to present this play in New York, considering it’s been four years and we’re just very curious to see how New York audiences respond to it.

You also starred on THE TUDORS. What was that experience like, and do you prefer stage or screen when it comes to acting?

Their both fascinating, and their both so very different. First of all the relationship with the audience is a very different relationship with the camera. I also there’s something about doing things in real time. I mean, this play is about an hour and ten minutes long, and it takes place in real time, so, once it’s starts, you’re not getting off that trail until it’s over. And there’s something very liberating about that, you know? There’s no stopping and cutting and retaking. It’s a very nice way to become present in the moment. You can’t just be present for it to work, and that’s where I can sort of disappear. It’s a very nice feeling.

Robert Zawadzki on making his New York stage debut and the importance of

by Sarah Katz, originally posted via Stage Door Dish on 8/22/2016

Robert Zawadzki’s is making a strong first impression on New York audiences in the Irish Repertory Theatre’s production of Quietly.

He has been with Quietly since its premiere in Dublin, Ireland in 2012. The play has garnered critical acclaim and praise for its powerful political story and stirring characters. Zawadzki, who is making his US debut with the show, is thrilled to be bringing this Irish-based play to the hearts and minds of the New York theatre community.

You have been with Quietly since its premiere at the Abbey Theatre in 2012. It has since been performed at the Edinburgh Festival in 2013, and the Soho Theatre in 2014. You are now performing it at the Irish Repertory Theatre. Has the play stayed the same since its premiere? If not, what types of changes have been made to it?

The story itself stayed the same. We haven’t cut or add anything that would fundamentally change it. The changes, that we have made over the years I would describe as cosmetic changes. They were natural consequence of the conditions in the venues where the show has been presented. For example, in the original version my character received text messages from the women of his life. The Irish wife and Polish mistress. Messages were seen as visualizations on the windows of the bar. With time, it has been changed, due to the technical reasons because in some places there wasn’t enough space to put the projector. Today, Robert simply rings them or reads aloud incoming text messages, commenting on them to himself. I think this solution opens up more opportunities for the actor.

Do you think you’ve changed the way you play your character, Robert, over the years?

Well, we all grow up, we all became much more mature. It’s a consequence of our life experiences. So of course it has an influence for what we do. And the role always matures along with the actor. So it was in this case. During that time I have had a chance to understand more the world and the circumstances around me. Also the circumstances in the play. It’s still not enough, and it’ll never be. It’s still less than it’s gonna be tomorrow, but much more than it was yesterday. I hope I also improved my English during that time. I mean it wasn’t so bad but training makes perfect. Last two years for example, I was listening to WNYC Radio Station to stay in touch the language and get to know what’s going on in the city that I was hoping to visit soon. It became my daily habit and I became a big fan of this station. They have many very interesting things to offer. Especially connected with culture.

With Quietly making its US debut, how do you think American audiences will respond to it? Do you think they will be able to grasp the idea and message as well as your previous Irish and European audiences did?

I do not divide the audience between American, Irish or European. It doesn’t matter. People can be intelligent, vulnerable, mature or not. That’s all. But I assume that a theater artist should believe in the intelligence of the viewer at the same time giving him the opportunity of mental effort. A good play, even if it is placed in a very strictly defined circumstances should entail universal problems and universal values. I am convinced that happens in Quietly. The problems of this brilliant and deeply humanistic play are universal. We don’t live on other planets, or other dimensions. We all live on one Earth, and we should have a basic awareness of the world of which we are a part. On a basic level we also are not different as a human beings. But it’s up to us what we learn, what ambitions we have, what books we read and how we perceive other people. So I’m not afraid of reactions and responses. I believe it’s gonna be alright. Actually it already is.

You play Robert, a Polish barman. Your character has the same name as you. What similarities do you share with your character, and what makes you different from him?

As an actor I always built a character on myself. I think we can’t escape from ourselves. Robert has a similar bitter sense of humor as I have. I really enjoy all the funny situations, exchange of malice and intelligent dialogues contained in this play. It all gives me a lot of fun each time we do it. I also love to listen to people. I talk a lot but still prefer listening than talking. This is the main similarity between us. I think I also am a good watcher. I like football or as you call it here – soccer. The border between us is unclear. I’d say, we penetrate each other. I have also experienced emigration, so I know exactly what may he feel. I haven’t experienced racism or xenophobia towards myself but it isn’t hard to imagine. You can just look around or for example listen to some politicians.

This is a very political play. Were you familiar with the Irish politics the play discusses, even before you became involved in the production? Had you always been interested in politics?

Indeed, even if, as I mentioned Quietly delivers a humanistic message, then it’s still deeply rooted in politics and history. I used to live in Ireland for some time. At that time I was trying to get to know as much as I could about this beautiful and fascinating country. I traveled a lot, I was interested in Irish culture and history. I’ve read a few books about it. I always try to combine these two things. The theoretical knowledge, that is derived from what I hear or read, with practical, empirical experiences. So before I read Quietly and went to the audition I knew what term ‘the troubles‘ means. I visited Belfast few times before. I’ve been to many places where even some residents of this city are afraid to go. Maybe it was risky and foolish but also so fascinating that I couldn’t deny myself the opportunity. Before we came over to New York we rehearsed for one week in Belfast and I also went for a long walk along the Peace Wall, Shankill Road and Falls Road. To feel the energy of those places. I believe this was my key to get this role. I knew a bit more of the story that is in the words of this play. I felt it somehow and that helped me to understand more and to prepare better for the audition. And yes, I had always been interested in politics. I think we should have had clearly defined point of view. It can’t be achieved if we don’t care. Political consciousness is a very important link in civil society, and in turn is an important factor of democracy which is maybe imperfect but still the best possible of the systems.

What drew you to this play?

The play itself. It’s a fantastic piece of writing, isn’t it? But also the desire to experience a new adventure, take on a new challenge. And as you can see it fulfilled it, one hundred percent.

Quietly only has three characters. You act alongside Patrick O’Kane, who plays Jimmy, and Declan Conlon, who plays Ian. How has your relationship with them grown throughout the years and what have you learnt from them?

The whole team accepted me from the beginning very warmly. Also Paddy and Declan. I have a big respect for what they do and I’m impressed what fantastic, wise people they are. I trust them and I hope they trust me. Even if sometimes we have different opinions, which is normal, the basis for the relationship is always mutual honesty. It was so from the beginning of our relationship. I’d say it happened naturally. This very special kind of respect, and I’m not afraid to say friendship, and it’s very helpful on stage. It strengthens the links and strengthens confidence, which is one of the most important elements of our work. It’s a great privilege and joy to work with those two amazing actors. I learn from them each time we meet on stage but also outside of it. I’m a bit younger than them, less experienced and they treat me as their partner. They come to work with great humility. That’s what I learn, with biggest pleasure, all the time.

How do you prepare for your role each night?

I do some diction exercises to warm up the speech engine. This role doesn’t require physical preparation but I also try to keep in good condition. I jog every morning. And before the show starts, I try to relax my body and focus the mind on the task. A few minutes of silence and deep breath helps me to achieve it. That’s all I do.

You have been playing the same character for four years. How do you keep your character fresh?  

I try to experience this story each time the first time. And forget that I know it well and I already played almost 200 performances in last few years. But above all, I listen and watch what is happening on stage. And I react to it. Every time it’s a little bit different, so every time my reaction is different.

What are the easiest and hardest parts of playing Robert?

If something is easy on stage, then it has no value. It shouldn’t be easy. It can be sometimes enjoyable, but shouldn’t be easy. The hardest thing is to keep concentration and focus. Especially when you sometimes see or hear unconcentrated people in the auditorium talking to each other or staring at their mobiles. Fortunately, it doesn’t happen often.

Is there a message you hope audiences will take away from Quietly?

Yes. Aggression, hatred, xenophobia have no future.

How do you interpret the title’s meaning?

Some things need to be said in quiet – to allow us to hear them.

When did you start acting? Was it something you always wanted to do?

As far as I remember I always did it. It must be some kind of illness or addiction. But I don’t know how you can get sick because as I mentioned I always had this ailment.

Is this your first time in New York?

Yes.

Do you have a favorite place in New York you like to go to, to relax before the show? After the show?

I like New York City parks. I relax there every time I can. Washington Square Park is fantastic. I feed squirrels every time I go there. I give them peanuts and they’re posing for me for pictures. And then watch people. There’s so many fascinating people in New York.

You are originally from Poland. What is something you miss about Poland that you don’t have here in New York?

I miss my family, my friends, books in my library.

You have been in many television shows and films. How do you compare TV and film to theatre, and do you prefer one over the other?

I’m not sure if it can be compared. These two types of work require a different focusing, different standby and I think I may also say different skills. Theatre gives you a time to rehearse. You can, and even should make mistakes, to learn to develop the ideas and choices you made. When you work in front of camera there is usually no time for all of this. Especially if it’s TV. Time is money and there is no space for mistakes. So, we may say that in theatre you learn and develop your excellence to be able to use it in limited time working in front of camera. It’s also different kind of acting. Camera sees everything. Every small reaction, especially on close up. It means that less means more. In theatre the audience must hear you and your reactions should be communicative for people in the first as in the last row. Live performance also gives you immediate response of the audience. If you make a mistake during the show you can’t say ‘I’m sorry, can we try again?‘. Show must go on… As an actor, of course I do everything to be versatile and ready for every challenge. Terrence Mann once said: ‘Movies will make you famous. Television will make you rich. But theatre will make you good. It is so true…

Do you hope to continue bringing Quietly to other cities? Maybe to Broadway one day?

I have no expectations, because if you have them, you may be disappointed easily. I accept what life offers to me and I try to enjoy it wholeheartedly.

Are there any specific roles you would love to play in the future?

Yes. I’d love to play roles that people will remember for a long time. It’s the biggest challenge and the most beautiful dream of every actor.

What is the greatest lesson you learnt from performing in Quietly?

Many things. Some of them I also knew before but this work has strengthened the conviction of their validity. One of them is, that in theatre the most important thing is the team. It doesn’t mean that there is no place for individualities. But it’s a bit like soccer; you can have a great, world-class players but if they don’t cooperate with each other nothing good will come of it.

What advice do you have for aspiring performers?

Never give up. If you fall, rise. If you make a mistake, work on it for the next time. But never give up.

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